清词自度曲的创作方式与音乐、文本的双重形态

文艺理论研究 ›› 2022, Vol. 42 ›› Issue (3): 197-208.

清词自度曲的创作方式与音乐、文本的双重形态

刘深；沙先一

广西大学行健文理学院；江苏师范大学文学院

出版日期:2022-05-25 发布日期:2022-06-27
作者简介:刘深，文学博士，广西大学行健文理学院教授，主要从事词学研究。沙先一，文学博士，江苏师范大学文学院教授，主要从事词学研究。
基金资助:
本文为国家社科基金一般项目“晚清社会转型与咸同词坛研究”[项目编号：21BZW108]、国家社科基金重大项目“历代词籍选本叙录、珍稀版本汇刊与文献数据库建设”[项目编号：16ZDA179]、“广西高校千名中青年骨干教师培育计划项目”的阶段性成果。

The Creation of New Tunes for Ci-Poetry in the Qing Dynasty and Their Dual Forms of Music and Text

Liu Shen;Sha Xianyi

the Xingjian College of Science and Liberal Arts at Guangxi University;
the School of Chinese Language and Literature, Jiangsu Normal University

Online:2022-05-25 Published:2022-06-27
About author: Liu Shen, Ph.D., is a professor in the Xingjian College of Science and Liberal Arts at Guangxi University, with research interest in the study of ci poetry. Sha Xianyi, Ph.D., is a professor in the School of Chinese Language and Literature, Jiangsu Normal University, with research interest in the study of ci poetry.
Supported by:
This article is supported by the General Project of National Social Sciences Fund (21BZW108) and the Major Project of National Social Sciences Fund (16ZDA179) and the Training Plan for One Thousand Young and Middle-Aged Key Teachers in Higher Learning Institutions of Guangxi Province.

摘要/Abstract

摘要：

在词乐失传的情况下，清人仍创作有大量的自度曲。在唐宋词的基础上，“依字声行腔”与“犯曲度腔”是清代词人自制新腔的典型手法，这两种手法大多遵循填词在前，协律在后的方式。值得注意的是，清人创作自度曲，亦能摆脱唐宋词原有词调的影响，并不刻意择腔，制谱与填词皆任意度腔，自为己律；更重要的是能够使填词与音乐在音律上形成和谐的关系，便于歌唱。考曲乐在清代的盛行，可以推断出清人创作自度曲时所依据的音乐形态主要是清代曲乐。这实质是“以曲为词”，故清人一些自度曲具有曲味。这或许说明，词曲不分在不少清代词人眼中并不是很重要的命题。清人创作自度曲，亦和清代词坛长期存在着较盛的歌词之风密切相关。这体现了清人对词乐之美的追求以及对拘于词律词谱的填词方式的不满。清代词人的这种努力，是某种文学复古行动，亦体现出某种“统序”意识。

关键词:

自度曲, 创作方式, 音乐, 文本, 歌词

Abstract:

Despite the loss of tunes to ci-poetry during the Qing Dynasty, poets still composed a large number of new ci-poems, and ci-poetry in Chinese classical poetry has been considered as lyrics to music in contrast to regulated poems. Based on the ci poetry of the Tang and Song Dynasties, Qing-dynasty poets developed two main methods to compose the new tunes for ci-poems, which were “tuning on the consideration of tones of every word” and “blending tunes to create a new tune.” These two methods enabled the poets to compose lyrics before revising the melodies. Thus, the poets in the Qing Dynasty, when composing ci-poems according to their newly invented tunes, could free themselves from the constraints in the Tang and Song ci-poetry, so they could compose and improvise according to the prosody and rhythm of words, and harmonize the lyrics and tunes to ensure better performance. Critical surveys of music in ci-poetry that were prevalent in the Qing Dynasty informed us that the music in the ci-poems was mainly created in the Qing Dynasty. This means that ci-poetry was essentially the tune, that is, music was highlighted in the composition of ci-poetry. In other words, the distinction between lyrics and tunes in ci-poetry was not an important issue for ci-poets in the Qing Dynasty. The fact that ci-poets composed their own tunes in the Qing Dynasty was closely connected to the upsurge of song lyrics at that time. This illustrated the pursuit of musical beauty among the ci-poets in the Qing Dynasty and their dissatisfaction with the constraints of ci-poetry conventions. Their pursuit and practice were in fact part of the revivalism literary action and an indication of the urge to return to an orthodox literary order.

Key words: invented tunes, methods of literary creation;music, text;lyrics

刘深, 沙先一. 清词自度曲的创作方式与音乐、文本的双重形态[J]. 文艺理论研究, 2022, 42(3): 197-208.

Liu Shen, Sha Xianyi. The Creation of New Tunes for Ci-Poetry in the Qing Dynasty and Their Dual Forms of Music and Text[J]. Theoretical Studies in Literature and Art, 2022, 42(3): 197-208.